Amy Bauer – författare

Spectral music as a school of compositional thought was originally associated with the ensemble l'Itineraire in Paris in the 1970s. Since that time, it has only grown in significance and recognition as it transitioned from concert halls to dance clubs and made other incursions into popular culture. The Oxford Handbook of Spectral Music offers a fully new and expansive understanding of current scholarly and creative activity related to the spectral music movement and its legacy from its founding in the mid-1970's to the current day.The definition of spectral music has been at the center of debate among spectral composers and scholars since Hugues Dufourt first coined the term in the late 1970s. Rather than aiming to present an overarching definition of spectralism, the handbook shows the multiplicity of the spectral legacy by presenting diverse perspectives from top scholars and composers in the field. It includes essays on major founding figures such as Gérard Grisey and Tristan Murail, as well as the proto-spectral practices of Scriabin and Messiaen, and the influences of spectral music on serialism, postmodernism, sound art, and psychedelic rock. It features essays by some of the movement's most significant living composers, such as Steve Lehman, Marilyn Nonken, Ken Ueno, and Patricia Alessandrini. A long overdue examination of an important compositional trend in late 20th century music, this handbook will appeal to scholars, composers, and students desiring to become better acquainted with the broad influence of spectral music: what birthed it, what defines it, and what its future holds in the 21st century.

Since György Ligeti’s death in 2006, there has been a growing acknowledgement of how central he was to the late twentieth-century cultural landscape. This collection is the first book devoted to exploring the composer’s life and music within the context of his East European roots, revealing his dual identities as both Hungarian national and cosmopolitan modernist. Contributors explore the artistic and socio-cultural contexts of Ligeti’s early works, including composition and music theory, the influence of East European folk music, notions of home and identity, his ambivalent attitude to his Hungarian past and his references to his homeland in his later music. Many of the valuable insights offered profit from new research undertaken at the Paul Sacher Foundation, Basel, while also drawing on the knowledge of long-time associates such as the composer’s assistant, Louise Duchesneau. The contributions as a whole reveal Ligeti’s thoroughly cosmopolitan milieu and values, and illuminate why his music continues to inspire new generations of performers, composers and listeners.

When the Hungarian composer György Ligeti passed away in June 2006, he was widely feted as being one of the greatest composers of our time. His complete published works were recorded during his lifetime and his music continues to inspire a steady stream of performances and scholarship. Ligeti's Laments provides a critical analysis of the composer's works, considering both the compositions themselves and the larger cultural implications of their reception. Bauer both synthesizes and challenges the prevailing narratives surrounding the composer's long career and uses the theme of lament to inform a discussion of specific musical topics, including descending melodic motives, passacaglia and the influence of folk music. But Ligeti 'laments' in a larger sense; his music fuses rigour and sensuality, tradition and the new and influences from disparate high and low cultures, with a certain critical and ironic distance, reflected in his spoken commentary as well as in the substance of his music. The notions of nostalgia, exoticism and the absolute are used to relate works of different eras and genres, along with associated concepts of allegory, melancholy, contemporary subjectivity and the voice.

When the Hungarian composer György Ligeti passed away in June 2006, he was widely feted as being one of the greatest composers of our time. His complete published works were recorded during his lifetime and his music continues to inspire a steady stream of performances and scholarship. Ligeti's Laments provides a critical analysis of the composer's works, considering both the compositions themselves and the larger cultural implications of their reception. Bauer both synthesizes and challenges the prevailing narratives surrounding the composer's long career and uses the theme of lament to inform a discussion of specific musical topics, including descending melodic motives, passacaglia and the influence of folk music. But Ligeti 'laments' in a larger sense; his music fuses rigour and sensuality, tradition and the new and influences from disparate high and low cultures, with a certain critical and ironic distance, reflected in his spoken commentary as well as in the substance of his music. The notions of nostalgia, exoticism and the absolute are used to relate works of different eras and genres, along with associated concepts of allegory, melancholy, contemporary subjectivity and the voice.

Since György Ligeti’s death in 2006, there has been a growing acknowledgement of how central he was to the late twentieth-century cultural landscape. This collection is the first book devoted to exploring the composer’s life and music within the context of his East European roots, revealing his dual identities as both Hungarian national and cosmopolitan modernist. Contributors explore the artistic and socio-cultural contexts of Ligeti’s early works, including composition and music theory, the influence of East European folk music, notions of home and identity, his ambivalent attitude to his Hungarian past and his references to his homeland in his later music. Many of the valuable insights offered profit from new research undertaken at the Paul Sacher Foundation, Basel, while also drawing on the knowledge of long-time associates such as the composer’s assistant, Louise Duchesneau. The contributions as a whole reveal Ligeti’s thoroughly cosmopolitan milieu and values, and illuminate why his music continues to inspire new generations of performers, composers and listeners.